[-empyre-] networked self and the netopticon

[simon]

Heidi & <<empyreans>>,

I see in this no escape from representation. And the danger of the 
critique of the Netopticon as an insistent refusal or resistance to 
endangering and bringing harm upon the current representational order. 
As it is manifested in economics - neoliberalism; science - 
technologism; reason - discursivity or dialogism; politics - 
identitarian representation; art - communication and advertising; 
culture - consumerism; cultural movement - postmodern/post(mortem) 
stasis; critique - deconstruction; knowledge - information; erotics - 
sentimental pornography or real-life drama; being - being seen.

The excerpt, "interactive installations, mainly, that involve spectators 
in what is active participation with the work, which never ceases to be 
a piece with its own identity," assumes two of these orders: that 
according to which active participation becomes exemplary communication 
by way of the spectators' involvement; and that which would return the 
work to a self-identity for which language can do no more than seek 
adequate metaphors, here from the discourse of artworld cant, or the 
popular speech of commercial communication. The exhibition itself might 
have the potential to take the discussion into the pragmatics of an 
artworld that educates young artists in the cant of its own assumptions, 
wherein participation is determinedly commercial. Going by which 
pragmatics, work that is not able to be captured by and traded under the 
gallery/exhibition system, does break or escape. But such is the avidity 
of the system, it will go out its way to reproduce the conditions of 
escaped art and having successfully captured and captioned these, 
display and trade them in and as installations, with the support of 
corporations used to this sort of necrology, or traffic in the 
techno-corpse and organs.

Best,

Simon Taylor

www.squarewhiteworld.com
www.brazilcoffee.co.nz